I have looked into my Grandfather and Grandmother’s past, and discovered scrapbooks he had made about his success in his garage and boat business.
I might use these as backgrounds for my photobook, use them to fill pages in between some photos, or as a cover.
I am going to experiment with some of these artists in photoshop, using archived images and these scrapbooks.
During this shoot, I plan to get pretty much all my images done at once as I probably won’t get another chance to get everyone together to do multiple photoshoots.
What?
I will photograph different people dressed masculinely or femininely, depending on what they are comfortable with, and experiment with gender stereotypes and gender roles to explore people’s views.
Why?
I chose this project for multiple reasons, one is because the line between “Masculinity” and “Femininity” can be fragile and many people cross this line and experiment, I would like to explore the idea that masculinity and femininity are both social constructs that have been made from centuries of gender stereotypes. The second reason is that I experiment with gender and would like to portray my own experience with gender through both self-portraits and portraits of other people.
Who?
I have a group of around 10 friends who are willing to help with this photoshoot and even experiment with gender stereotypes by wearing clothing that wouldn’t typically be “assigned” to their gender.
How?
I will use my camera which is similar to the ones we use in class.
When?
It will be an afternoon on either Monday or Friday as that is the easiest accessible to everyone taking part in the photo shoot, most of the shoot will probably be done while it is getting dark.
Where?
Instead of going to an actual studio, I will set up a portable studio in the living room at home. As much as these images are for my photography project, I would like to prioritise the comfort of the people taking part in the shoot and I think the best way of doing this is by being in a home setting rather than a school environment. The living room is the easiest room to blackout in the house which is the reason why I will be using it for the shoot.
Intentions –
For this exam, I want to make cinematic photographs. Photos that have the aesthetics and quality of a movie. The things I want to take pictures of will mostly involve a person or people, so portraits, and also of many views, so landscapes. Most locations would be beaches, streets, pubs, clubs, busses, cars, pathways and more. I want to have a variety of different times of day too, some taken during daylight hours and some at night. With the evenings in between, which gives me the chance to include sunset shots. I can take pictures of the moon and sun too. The main category for this project will be Observe, because the photos are of people and landscapes, like the viewer is watching these locations and these people. The main inspiration for these images is from Godfrey Reggio, with his shots of cities in his movie, Koyaanisqatsi. I like his shots of the many buildings in the big cities, they appear very deadpan and still, compared to his shots of the busy streets and roads which I also like and will try to replicate too. The movie captures a few natural structures too, like mountains and geysers. Jersey has no geysers but plenty of hills and cliff faces to capture. I also want to go to the sand dunes and capture some images there.
Technical + Visuals –
I want to use colours that blend and contrast with the subject and surroundings. I want to feature all kinds of camera angles; down shots, portraits, medium shots, extreme close-ups, wide shots, back-facing shots etc.. In terms of misc-en-scene, I want to make some photos look grainy, like it was shot on an old movie camera, I can make some photos have an orange-yellow tint to them too, or any other colour can be used – done through Lightroom, to make it look more cinematic and photogenic. For night photography, I can make streetlights in the background look either blurry or more radiant, same for car lights, which gives me another idea of slowing the shutter speed and capturing the streams of light from the cars going past. Photographs of the city at night always look nice too. Similar to Rut Blees Luxemburg’s night photographs, but with a more vibrant and cinematic twist. Day photos I can have the beams of light from the sun shine on the lens or on a person, or add a lens flare to the image. A general edit I can make is blurring the background to make anything in the foreground stand out and be highlighted, this can be easily done by changing aperture sizes. If needed, I can add cinematic bars to make the photographs more dramatic and serious.
For my second photoshoot, I took pictures in small towers, located in a wood in Trinity. I used the rough walls as background, photographing the place with me and without me, similarly to my first photoshoot.
These are the photos I believe are the strongest, in terms of composition and fitting in with my project. They are the photos in which the interaction between the environment and me is most natural, which is something Woodman always manages to achieve. These are mostly likely the raws I will be editing into black and white.
For my first photoshoot, I decided to take pictures at home. I wanted a simple wall as the backsdrop with some bigger and smaller components to act as props around me. I took both self- portraits as well as photos of the room itself, showing a contrast between place and person.
I think this photoshoot links in with the theme by producing an indirect observation of my thoughts and feelings- linking to hysteria through the unnerving vibe of the photographs. It also challenges the stereotypical views of femininity and mental illness, openly showing feelings that tend to be hidden.
These are the photos I believe are the strongest, in terms of composition and fitting in with my project. These are mostly likely the raws I will be editing into black and white, and cropping them to improve the composition (e.g: cropping out the door frame present in some shots).
who: The photos will be of me, linking to femininity and hysteria.
what: I will also take pictures of the room/ props as I want to take images without me too, creating a more emphasised contrast between me interacting with my environment and the environment without me.
where: I will be completing my first photoshoot at home, downstairs in my corridor (currently being painted therefore having similarities with the bare rooms Woodman tends to pose in.
when: I will complete this photoshoot at any time, as it is inside so weather has no effect.
how: I will use a digital camera and a slow shutter speed, causing the photos to have a double exposure, much like Woodman’s images, creating a disturbing mood within the pictures.
who: The photos will be of me, linking to femininity and hysteria.
what: I will also take pictures of the walls, windows as I want to take images without me too, creating a more emphasised contrast between me interacting with my environment and the environment without me.
where: I will be going to a wood in Trinity, where two abandoned towers are situated, creating an interesting backdrop.
when: I will complete this photoshoot on a bright day, so that enough lighting hits the forest floor beneath the trees.
how: I will use a digital camera and a slow shutter speed, causing the photos to have a double exposure, much like Woodman’s images, creating a disturbing mood within the pictures.
He is a photograher who captures detailed images of abandoned locations and buildings- especially ones with great historical significance. His aim is to rediscover our forgotten heritage through the mean of photographic storytelling. This fascination of his turned into a seven year long project called ‘Forgotten Heritage’. His work takes him into environments that have long been forgotten allowing him to discover first-hand past architectural history. He has photographed many diverse locations like abandoned farmsteads in the arctic circle, vast industrial remnants in northern Europe to crumbling villas and hospitals in Italy. His almost decade long project has won several of the worlds most prestigious international photography awards to date and has been widely published online and in the international press. In 2017, he won the Historic Photographer of the Year award. More recently Emmett has been working with organisations like the National Trust, HLF and various councils documenting restoration projects and running workshops.
In an interview with Emmett, he was asked “what’s the most memorable place you’ve visited?”
“Well most likely the jet engine site mentioned above which was so unique and I am unlikely to see anything like it ever again, it was demolished in 2013. But aside from that, I think it would likely be a large psychiatric hospital in northern Italy. We explored it as the small town beyond its walls woke up. Inside it was so quiet, all you heard were birds, the sounds of your feet against the tiled floors and the hourly clanging of a church bell or passing moped drifting in the shuttered windows. It had a truly magical atmosphere!”
Here are some examples of his work, which clearly highlight the rich quality that all his images have. The deep tones, harsh shadows and detailed aspects of the images cause the images to perfectly highlight the abstract beauty of each of these places. I have noticed that natural light is something Emmett manipulates to his advantage, for example, using beams of light to further emphasise the rich colours within each picture. His pictures truly help us rediscover these hidden locations, showcasing each place in a way that makes every flaw stand out- yet still looking beautiful.
This picture is part of his seven year project- ‘Forgotten Heritage’- where he explored a hospital in Italy. His photos captivate the viewer, the atmosphere of the place appearing to be calm despite its previous use.
The image has a deep depth of field, dragging the photograph more and more, far into the long hallways that meet in the centre of the photograph. This causes the photo to have a very interesting composition, having two areas of focus on each side of the image. This composition causes the photo to be very effective in capturing the atmosphere of the building, allowing the viewer to vividly imagine the feeling of the place. The lush greenery seen through the window contrasts with the peeling mustard- coloured paint that coats the walls, as well as the grey leaf- covered floor. The two corridors, one dim and the other bright, could be a portrayal of the hospital itself, its two sides, the duality that hospitals tend to have. Happiness and sadness, light and dark, good and evil could all be themes that this picture incoorperates into itself. The frames on the windows create a pattern or repetition within the image, which adds a geometrical aspect, contrasting with the otherwise bland walls. The image was clearly taken using a fast shutterspeed, allowing lots of light into the picture and therefore resulting in a bright, detailed image that helped capture each bend and curve of the architecture.
I think Emmett’s work fits in the theme, as observation is a key part of his projects. He observes the way each location looks, and captures each place in a way that is realistic yet adhanced in beauty. He seeks out these forgotten sites, and challanges the norms of ruins being unappealing to look at.
She was an American photographer who created black and white pictures, mostly capturing herself and other female models in interesting ways. Her photos show herself and other women either in unique outfits or stark naked, in weird positions. The photos mostly appeared to be blurred, since she used a slow shutter speed, letting more light in to create movement in a eerie way throughout her work. She was born on April the 3rd in 1958 and died on the 19th of January in 1981, aged just 22 years old. Despite her dying so young, Woodman has continued to inspire many upcoming photographers, being an icon of self- expression in photography.
She took her first self portrait at the age of 13, and then went on to continue to photograph herself and other women until she died. She attended the Rhode Island School of Design and travelled to Rome as part of its honours program in 1977. In 1980, she shared many of her portfolios with fashion photographs, wanting ‘to make a career in photography’. She was rejected, however, which lead to her becoming deeply depressed and she attempted suicide in autumn of that same year. A breakup with her boyfriend also added to her depressed state. This lead to her having to live with her parents, unfortunately in early 1981, she took her life after jumping out of a window.
Although Woodman used different cameras and film formats during her career, most of her photographs were taken with medium format cameras producing 6×6 cm square negatives. Woodman created at least 10,000 negatives, which her parents now keep. Woodman’s estate, which is managed by Woodman’s parents, consists of over 800 prints, of which only around 120 images had been published or exhibited as of 2006. Most of Woodman’s prints are 8 by 10 inches (20 by 25 cm) or smaller, which “works to produce an intimate experience between viewer and photograph”.
“Am I in the picture? Am I getting in or out of it? I could be a ghost, an animal or a dead body, not just this girl standing on the corner”
– Francesca Woodman
There are always celebrities and other artists that die young, which for some reason always leads to more questions about their short life. Suicide has always been seen as a taboo aspect of our life, but something that draws fascination and interest from the public, especially when it is a famous or talented person. Like many others, Woodman died young and left behind her interesting story along with her unique art. Her photographs were almost like a representation of her short life, the ghostly obscured and intimate photos clearly being a portrayal of her and her personality. Her portraits portrayed her as vulnerable and isolated, but also intense and powerful, creating a interesting contrast.
In relation to hysteria, her work is something that embodies the idea of being hysterical. Hysteria makes one feel unnerved, so i think the way her photos are both unnervering and disturbing is an effective way of showing the things she felt inside. Although a lot of progress had been made since the development of the idea of hysteria, the late 20th century still promoted many stereotypes of women. Perhaps, Woodman didn’t feel truly supported with her mental illness, so her photography was her way of expressing herself and her feelings.
Another significant aspect of Woodman’s work is her nude portraits. I think it is important to note the lack of provocativeness in her images, despite her being completely nude in many of her pieces. There is nothing sexual about her art if you truly understand her work- it was her way of showing her true self, without any filters, any clothes- a way of claiming her freedom and control over her own body and mind.
Here are some famous examples of her work, where she portrayed herself in many different positions and angles. Every single photo is unique and full of mystery, causing her style to be an inspiration for many. She challenged the idea that the camera captures a single time and space – something that had always been seen as one of the fundamentals of photography. She manipulated light, movement and photographic effects, and used carefully selected props, vintage clothing and decaying interiors to add a mysterious gothic atmosphere to the work and create a new technique of portrait photography. The concept of vulnerability is brought up a lot my critics, and although I do understand that her poses create a sense of vulnerability, her pictures embrace her, a lot of the time naked, body in a powerful manner, showing she is the one in control.
One of her most iconic photographs, portraying her in a bent over position on top of a mirror, capturing her staring intensely into the camera lens. It is believed that it was a photo she sent to her boyfriend at the time, sending it in advance to her return to the US from Italy.
This photographs composition is very interesting, being taken from a bird eye view angle, capturing her entire body in the shot. The entire look of the photo creates a mysterious mood throughout the image; the black and white causing us to focus more on her face which appears blurry as through she was moving. This along with the wild look in her eyes creates her to have an unhinged appearance, adding to the eeriness of the photo and also her embodying her mental illness. She appears to be naked on the lower half of her body, adding to the weird look of the photo and creating another interesting aspect to the photo, perhaps being something to do with the photo being meant for her boyfriend, Woodman portraying herself in a seductive way and enhancing the sexual representation within the photo, but at the same time lacking in provocativeness, despite being naked. Despite her face not being in focus, it is clearly the area of focus within the photograph, her neutral expression contrasting with her wide- open eyes, causing the viewer to immediately look at them. The mirror creates an interesting shape around her, framing her body and causing us to focus on her even more. Moreover, the dark tone of the wood contrasts again her light skin and clothes, causing her to stand out even more. The mirror creates an idea of other dimension, and her face being blurred creates a sense of timelessness.
I think Woodman’s work is a perfect embodiment of the theme, as her pictures cause the viewer to observe the way her photos are a portrayal of her emotions and seek the true meaning behind each peace. Her work challenges many societal views, the nude and exposed aspect of her photographs being looked down upon, especially in the 20th century. It also challenges the norms about femininity and mental illness, as she incoorperates both in a beautiful manner, when the two things are typically never seen together.
The name ‘hysteria’ is derived from the Greek words ‘hystera’ which means ‘uterus’ as well as ‘hysterikos’ meaning ‘suffering of the womb.’
Greek thinkers (like Hippocrates and Plato) believed that when a woman experienced delirium, excessive emotion, and lack of self-control, it was due to her uterus moving freely throughout her body and thus having negative effects on her mental wellbeing. Plato believed that when the womb was empty for too long after puberty, it became distressed and disturbed and started to move around the body out of irritation. This gave the impression that women should be quick to occupy the womb – they were told that they needed to be getting married and carrying babies to anchor the womb, explaining why women were expected to fall pregnant at such a young age. The threat of sexual deprivation and barrenness sending women crazy spurred the myth of the wandering womb, solidifying women’s position as being strictly child-bearers. It also solidified excessive emotion as a feminine emotional condition, and caused women to become the ’emotional gender’.
On the other hand, male hysteria, as the name indicates, is ‘hysteria for men’. Interestingly, symptoms included extreme behaviour, uncertainty in actions and motives, inclination to substances, for example, alcohol, and neurosis. The ‘disease’ was closely linked to gender stereotypes when men failed to act ‘like men were expected to act’, another feature of the patriarchal and misogynistic views that promoted hysteria.
My project is about femininity and mental illness, so I believe hysteria is a topic that links in perfectly with both. I want my photographs to show hysteria, showing it in a stereotypical and disturbing manner, utilising a slow shutter speed of 1/4 or 1/5 to create movement within the images, portraying hysteria as something that can’t be controlled. My inspiration, Francesca Woodman, was an individual who showed her struggles with mental health through her work. I think her work was an indirect portrayal of hysteria, all her photos having an unnerving feeling to them.
Hysteria’s dual nature makes it a perfect example of both oppression and liberation: although hysteria in itself is a symptom of patriarchal pressures, hysterical symptoms are also an implication of an individual’s increased awareness of patriarchy. This is a theme I want to portray through my photographs.
Sean Tucker is a renowned street photographer based in London, UK. With a background in music and a career in professional photography spanning over a decade, Sean has established himself as a leading voice in the world of street photography. His distinctive style, characterized by poignant storytelling and intimate portrayals of urban life, has garnered widespread acclaim and a dedicated following on social media platforms such as Instagram and YouTube.
Early in his career, Sean faced several challenges common to aspiring street photographers. He grappled with feelings of self-doubt and uncertainty about his creative vision, struggled to find his unique voice amidst a sea of photographic styles, and encountered logistical hurdles while navigating the dynamic and often unpredictable environment of the streets. Additionally, Sean faced the challenge of balancing his passion for photography with the demands of earning a livelihood, leading him to explore various avenues for monetizing his craft.
In my own work, I seek to emulate Sean’s mastery of deep shadows as a means of imbuing my photographs with depth, mood, and emotional resonance. I am fascinated by the transformative power of shadows to obscure, reveal, and evoke a sense of mystery, inviting viewers to engage with the narrative unfolding within the frame. By harnessing the dramatic contrasts and textures created by deep shadows, I aim to evoke a sense of atmosphere and intrigue that transports viewers into the heart of the urban landscape.
Sean adopted a multifaceted approach to address these challenges and propel his growth as a street photographer. He embraced a mindset of continuous learning and experimentation, immersing himself in the work of master photographers, attending workshops and seminars, and seeking feedback from peers and mentors. Sean also honed his technical skills through diligent practice and exploration, mastering the nuances of composition, lighting, and storytelling to create compelling visual narratives.
Crucially, Sean leveraged digital platforms such as Instagram and YouTube to showcase his work, share insights into his creative process, and connect with a global audience of fellow photographers and enthusiasts. Through engaging storytelling and authentic, behind-the-scenes content, Sean cultivated a strong personal brand and established himself as a trusted authority in the field of street photography.
In my own work, I seek to emulate Sean’s mastery of deep shadows as a means of imbuing my photographs with depth, mood, and emotional resonance. I am fascinated by the transformative power of shadows to obscure, reveal, and evoke a sense of mystery, inviting viewers to engage with the narrative unfolding within the frame. By harnessing the dramatic contrasts and textures created by deep shadows, I aim to evoke a sense of atmosphere and intrigue that transports viewers into the heart of the urban landscape.